THANK YOU FOR YOUR REQUEST
We will be in touch soon.
For all of you that will be in London for this Design Week, we prepared a list of the most impressive art exhibitions that goes only until the end of this month.
Check the list and after visit us at the 100% Design, schedule you artistic outing.
Korean Eye 2012 Until Sunday – Sep 23
Saatchi Gallery, Duke of York’s HQ, King’s Rd, London, SW3 4SQ
This is the first non-Saatchi Collection showed in the gallery. That represents a Korea-promoting organisation’s holdings, filleted to 33 artists by Saatchi’s curators. Some works leverage cultural translocation, such as Shin Meekyoung’s standout roomful of traditional vases made in soap. Others meditate on memory’s frailties, like Choe Uram’s work, where he used steel to make intricate sculptures that look like wafting plants. Bae Joonsung yet, manufactures slightly dubious peepshows. A parcel of the public may query the politicking behind the exhibitions, but the show was generally knew as an useful bluffer’s guide to Korean art.
Garden of Reason Until Sunday – Sep 23
Ham House, Ham St, Surrey, TW10 7RS
The peace and quiet of Ham House’s perfectly surrounded by hedges, flowers bush and well-tended cherry grove have been rudely disturbed by 17 artists, in celebration of the gardens’ foundation in the seventeenth-century. That era’s innovations, like Cartesian systems of geometry and Galilean theories of gravity inform the helium balloons and chalked line drawings by Ruth Proctor. Similarly sensitive are the voices from Kathleen Herbert’s sound piece, ‘The Theatre of Flora’. Each voice speaks of the ills or gains of a history so-called “tulip mania”, a rabid speculation about flower futures that led to a catastrophically explosion of the bubble for the Dutch bulbs.
Dorothy Bohm: Seeing and Feeling Until Saturday – Sep 29
Margaret Street Gallery, 63 Margaret St, W1W 8SW
On these works of art, there is a certain kind of beauty that can be difficult to comprehend, where you can remember blonde hair and blue eyes, for example, but not the composition of the face. That’s the same feeling you’ll get from Dorothy Bohm’s photographs. Perhaps this is because Bohm started as a studio portraitist, or, more fundamentally, because as a Lithuanian-born Jew who fled the Nazis in her teens and lost contact with her parents for 20 years, she’d seen enough irregularity to not show it in her work.
“Bohm (who is now 88) is a gifted portraitist, particularly of women, with her smiling subjects projecting a loneliness reminiscent of another refugee photographer”, Andre Kertész – a good friend of Bohm’s.
Moments of Reprieve Until Sat Sep 22
Paradise Row, 74a Newman St, W1T 3DB
Installed in David Roberts’s former gallery on Great Titchfield Street, this group show features abandoned buildings, ghostly figures, monochrome hues and melancholic landscapes. An image of a deserted public swimming pool was taken within the no-go site of the Chernobyl nuclear disaster. Shot by YBA twins Jane and Louise Wilson earlier this year, ‘Atomgrad (Nature Abhors a Vacuum) #4’ speaks about wasted lives and a community that suffered. Another work of this show is a result of the partnership between Adam Broomberg and Oliver Chanarin: ‘The Day Nobody Died III’ – an abstract image in which shards of red bleed into a blue sky – was made during a visit to Afghanistan in 2008. The immediate association made is with a bomb form, but the image is actually a section of photographic paper exposed directly to the sun.
Despite the fact that most of these images were made from different artists, they are effective together in a literal feeling of loss, creating an arrangement of emotionally charged moments.
From Paris: A Taste For Impressionism Until Sunday – Sep 23
Royal Academy of Arts, Piccadilly, London, W1J OBD
On this show, impressionism levels are high: Renoirs of pretty girls; florist’s window of peonies, roses, dahlias and chrysanthemums. Arranged by genre, the exhibition reveals collections that counts with Renoir’s ‘Onions’ (1881) and ‘Seascape: Storm’ (1866-67), an Monet that presents the sea not as shimmering impressionist haze but solid, threatening mass, besides the Corot’s ‘Bathers of the Borromean Isles’ (1865-70) and a shadowy Degas’ self-portrait as a sensitive young man (1857-58). Trying to unify the stylistic and temperamental leaps on display is, as all those receipts serve to remind us, like trying to account for taste.